As discussed in my previous audition posts (Part One, Part Two, and Part Three), some auditions will call for a reading of a section of the play and some will call for a prepared monologue or two.
When an audition calls for a monologue, choosing the right one can be very important, so I've decided to write a segment in two parts on the topic
The first will concern choosing a single monologue with which to audition when that is what the director has requested. The second will concern choosing two contrasting monologues. Read it here.
Hopefully, you will build up a set of five or six monologues with which you are extremely comfortable, and choosing which one or two of them to perform will be easy, based largely on what play you are auditioning for, what part you desire, and your impression of the director.
A Single Monologue:
For as long as there have been plays, there have been monologues, so choosing one to spend reading carefully, analyzing, considering, memorizing, and walking through in a hundred different ways, can seem daunting.
Probably for that reason, some acting teachers will block possible monologues into three groups. Contemporary, meaning anything written in last hundred years or so, Shakespearean, and Greek.
Most acting teachers will recommend using a Shakespearean monologue. That is my recommendation as well.
Of course, many monologues don't fit into those categories, or at least are less clear. Many plays written by Shakespeare's contemporaries still exist, and have become fairly rare as audition material. Plays written in the Victorian era, such as something from Oscar Wilde, can be a little more nebulous when it comes to defining their period.
There is, of course, something to be said for auditioning with a monologue you are fairly sure the director will not have heard before, particularly if you will feel certain who can make a strong impression with it.
There is also something to be said for auditioning with a Greek monologue. The language can be intense, and the emotional focus will be on concepts like the all powerful gods, and inescapable destiny. These are topics that some modern actors will find difficult to understand and portray effectively. If you can portray these concepts effectively, delivering a Greek monologue may be a great way to go.
A contemporary monologue is a little less certain. There is certainly a great deal of material to chose from, ranging from plays to radio to television to movies, but some of these sources can be frowned upon by directors.
Though a contemporary monologue will be easy to understand and relate to, allowing the actor's natural talent to shine through, it is probably the weaker in choice. In my opinion, it would be best to avoid one unless you are absolutely certain that it will give the director the best understanding of your particular gifts.
What You Should Know:
A Shakespearean monologue is the best choice for several reasons.
It will give you a great range of emotions. Shakespeare's monologues range across the spectrum from tragic to comedic, and though some people will find his language a bit difficult to wade through, a little study will reveal that his concepts have continued to be relevant into the modern era.
It will show your strength as an actor. It is never a good idea, in theater, to shy away from Shakespeare. Showing a director that you don't (that you, in fact, embrace him) is a great idea.
It will impress your director. This is very important. Some acting teachers will tell you that a director will not listen to an actor who is not auditioning with a Shakespearean monologue. This is unfortunate, certainly, and any actor might hope that they could sway even a director biased against them with their incredible talent. Unfortunately, that might not be the case, and for that reason alone it's best to consider the Shakespearean monologue.
Whatever type you chose, remember to go with your skills. Find something that will show your director what you are good at.
Click here to read about choosing two contrasting monologues.
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